Volume 2022, Issue 244

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

Résumé Cette recherche porte sur le rôle joué par les différents éléments d’une image dans l’interprétation de cette image et dans les émotions qu’elle induit. A partir de l’approche structurale de la théorie des représentations sociales on suppose que certains des éléments d’une image seraient centraux tandis que d’autres seraient périphériques. Pour explorer cette piste on a retouché trois photographies originales afin de supprimer certains des éléments qu’elles montraient. Les photographies originales et les photographies retouchées ont été présentées à trois groupes de participants ( n 1 = 94, n 2 = 97, n 3 = 100) qui devaient, pour chaque photographie, produire trois associations verbales puis évaluer le niveau d’activation des émotions ressenties. Les résultats montrent que certains des éléments d’une image en déterminent à la fois le sens et les émotions qu’elle induit, d’autres n’en déterminent que les émotions, d’autres enfin ne déterminent ni la signification, ni les émotions induites. Ces résultats suggèrent que dans le cadre de la théorie des représentations sociales, l’analyse des images en termes d’éléments centraux et périphériques pourrait être très utile pour mieux comprendre comment fonctionnent ces images en tant que systèmes sémiotiques.

Relating visual images to textual messages may have great potential in facilitating students’ reading comprehension. The inevitable and important presence of visuals in textbooks obliges language teachers to exploit all semiotic resources to deepen students’ understanding. However, analysis of how images interact with text in textbooks has been rare, and among the efforts it has generally been found that visuals and text often fail to achieve coherence. This study investigates whether and how text and image complement each other ideationally (i.e., the “what”) by six sense relations (e.g., synonymy and hyponymy) and interpersonally (i.e., reader engagement) by the Mood system in ninth-grade English as a Foreign Language (EFL) textbooks to reach intersemiotic complementarity (IC). The results revealed that ideational rather than interpersonal IC is more frequent, where many more Participants (i.e., the nominal groups) than Processes (i.e., the verbal groups) in the texts find their visual complements. Ideational IC is particularly high in Information Reports while Recounts generally mark higher percentages of interpersonal IC. To accomplish ideational IC, repetition is most frequent, followed by hyponymy (i.e., general-specific relation) and collocation (i.e., relations that naturally co-occur). Distinct IC patterns also characterize the different editions of textbooks investigated, which may suggest their different potentials in catering to students of varying proficiencies.

My aim in this paper is to investigate the variants of directionality implied in visual hieratic texts as religious markers in the sacrosphere, which are substantially expressed in the form of a wayside shrine/cross. The methodological underpinnings for this project rely on the proposed semiotactics (cf. Haładewicz-Grzelak): the investigative perspective modeled after phonotactics – a branch of phonology investigating the restrictions on and the possibilities of phoneme combinations in languages (cf. Dziubalska-Kołaczyk 2011). The study draws on digital documentation of wayside shrines, crosses, and sacrality markers on houses collected by the author in various European countries (2009–2021), focusing in particular on the material collected in the area of present Slovakia, Ukraine, Austria, Slovenia, and the region of the Beskid Mountains in Poland. It shows how bodily hexis is inscribed into the phenomenology of a wayside shrine through particular types of hierophanic dynamics. The study also focuses on the aspect of headedness and markedness in the nano-structure of a sign, surfacing as directionality in the conceptualization of the religious sphere by particular communities.

Résumé L’intérêt pour le café ne date pas d’aujourd’hui, mais les discours promotionnels sur ce breuvage mythique ne cessent de se multiplier depuis l’arrivée d’Internet. Pour mieux comprendre le domaine spécifique des récits gustatifs (verbaux, gestuels ou visuels) qui se construisent autour de la passion pour le café, nous avons privilégié une démarche innovante en sciences du langage, la sémiotique du goût. Le site internet de la marque Carte Noire, en misant sur l’expérience gustative euphorisante et la tautologie du désir, offre un corpus approprié pour cette nouvelle approche (slogans, images, films publicitaires, textes). L’objectif de notre article est double : il consiste, d’une part, à appréhender le processus de construction des significations du récit passionnel en acte, et, d’autre part, à conceptualiser le sensible, l’imaginaire gustatif et l’hédonisme sur lesquels se basent les stratégies discursives publicitaires adjacentes.

What does Saussure really mean by “semiology”? This is the question we try to answer in this text. In fact, reading his writings and notes, we realize that Saussure uses the term “semiology” in different contexts and with different meanings. So the notion of “semiology” issued from his works is more complex than it seems because it undergoes several transformations throughout the development of Saussurian thought. The term “semiology” never appears in the texts published during in his lifetime, but we find several mentions of this notion in the manuscript sources that make up the Saussurian corpus. While this term appears first during the period between 1881 and 1891, especially in all the documents known under the title of Phonétique (1881–1885), in the Gothic lessons (1885–1886), and in the manuscript “De l’essence double du langage” (1891), the notion of “semiology” is presented to the public in the Cours de linguistique générale with a very precise meaning that has been taken up in Adrien Naville’s Nouvelle Classification des sciences (1901). Then, after the publication of a large part of Saussure’s autograph writings, Ecrits de linguistique générale (2002), we can return to this notion not only to trace its genesis, but also to better understand its complexity. And this is what we propose to do in this article.

Tagmemic theory as a semiotic theory can be used to analyze multiple systems of logic and to assess their strengths and weaknesses. This analysis constitutes an application of semiotics and also a contribution to understanding of the nature of logic within the context of human meaning. Each system of logic is best adapted to represent one portion of human rationality. Acknowledging this correlation between systems and their targets helps explain the usefulness of more than one system. Among these systems, the two-valued system of classical logic takes its place. All the systems of logic can be incorporated into a complex mathematical model that has a place for each system and that represents a larger whole in human reasoning. The model can represent why tight formal systems of logic can be applied in some contexts with great success, but in other contexts are not directly applicable. The result suggests that human reasoning is innately richer than any one formal system of logic.

For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammatic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors by developing their translation theory and practice in ways that are close to those of many contemporary semiotic translators. But both Imagist translators and contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies.

This article introduces Agentive Cognitive Construction Grammar , an emerging field that seeks to connect the linguistic system with speaker-meaning. The stated purpose is thus to tackle a pervasive disconnect in both cognitive linguistics and construction grammar, whereby the linguistic system (langue) and speaker selections (parole) are separated in the belief that language is essentially a mental process associated with the brain, and hence, separated from bodily experience. I contend this view by introducing a triadic model of construction (based on the Peircean sign) in which form and function are inextricably bound up with agency . This is possible because language is tethered to senses of movement and balance that connect experiences with the physical world with the mental. A major insight of the paper is that argument structure constructions partake of both linguistic and non-linguistic signs, which provides speakers with a means to verbalize their thoughts and distribute agency in specific events.